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The Pratt Show has been canceled. The 30-year-old annual juried exhibition for graduating seniors was axed by administration. Pratt students and faculty have created a petition letter, for what’s being called the #bringbackprattshow campaign. [Change.org]

An amazing Tumblr studying the appearance of algorithms in popular culture and everyday life. [#algopop]

Find all your Modernist art needs in the latest eBay corner, “All About Yves.” Exhibition posters, prints, collectibles, even the 2012 limited-edition Yves Klein Euro (yes, this happened) are up for grabs. Ebay might come under fire for failing to vet its artworks. For $190,000.00, you can purchase a nude Yves Klein bust that comes with a “lifetime exchange certificate.” Just in case you change your mind. [eBay]

Over the years, so much has been written about the late Francesca Woodman that it seems nearly impossible to find a new approach to her work. Critic Paige K. Bradley did, however, in her write-up of the artist’s current show at Marian Goodman. Cheers to that. [Artforum]

Inspired by the new Fox reality show “Utopia”, Adam Sternbegh wonders if we’ve binged out on so much dystopia that we can’t handle the genre any more. (The actual show looks like a set up for something like “Sex House“). Seems unlikely, since sincere belief in Utopia right now makes you either a cult leader or a creepy Silicon Valley exec. But still, Sternbergh would still like to see the genre make a comeback. [New York Magazine]

Damien Hirst is exceptionally fancy. He has enough castles now to fill a slideshow. [artnet News]

George Lawler knew his father robbed a bank at gunpoint, but had no idea he was a muse for Andy Warhol. He found out only after reading a review of the recent show at the Queens Museum, 13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair. This New York Times piece is basically just PR for the show, but there are some good quotes. Mainly, Lawler’s depressing realization at the end of the piece: “Wasn’t it Andy Warhol who said everyone will have their 15 minutes of fame? Here’s mine, I guess.” [The New York Times]

Clay Shirky on the inevitable death of print media: “The future of print remains what? Try to imagine a world where the future of print is unclear: Maybe 25 year olds will start demanding news from yesterday, delivered in an unshareable format once a day. Perhaps advertisers will decide ‘Click to buy’ is for wimps. Mobile phones: could be a fad. After all, anything could happen with print. Hard to tell, really. Meanwhile, back in the treasurer’s office, have a look at this chart.” [Medium]

Astrophysicists can date paintings to the minute. Only the first sentence of this article is amusing. What follows is a lesson on the fluidity of art “movements.” We’d be snarky, but we’ve already given Jonathan Jones enough shit. [The Guardian]

A thousandth nail in the coffin of Williamsburg culture. Mr. Brainwash is making murals for real estate development LCOR now, which, if you’ve ever seen Exit Through The Gift Shop, should come as no surprise. Inspiration seems to stem entirely from Starbucks decor. A plague on all your houses. [Buzz Buzz]

Christo is planning a large scale project on the Arkansas River in Colorado. Know what he wants to do to it? Cover it in fabric, six miles of fabric. [Artnet News]

Time to pay the piper, Internet. Twitter is on its way to Facebook-level suckage. “What Twitter is doing at the moment is testing us to see how much extra pain we’re willing to tolerate,” Vlad Savov observes of the paid-for content, promoted tweets, and profile redesigns. And then that’ll just be our lives forever. [The Verge]

What’s it really like to be a news publication’s social media editor? You spend all day around other people who think “tweets are tiny artworks.” [Digiday]

Starting this Friday, artists Ward Shelley and Alex Schweder will live in a giant hamster wheel for 10 days. [The Brooklyn Paper]

Frank Gehry don’t care! Nobody likes the too-famous architect’s design for the Eisenhower Memorial; detractors have compared it to a Nazi-era concentration camp or a highway overpass. Funding has been withheld for the project, but again, Frank Gehry don’t care—he’s not changing the design. [The Guardian]

Three Al Jazeera journalists have been detained by the Egyptian government for having “links to a ‘terrorist organization’ and spreading false news.” Six other Al Jazeera staff members face charges linked to the case. Today the protest marches over to Twitter with #freeajstaff. [Al Jazeera America]

“The narrative of the scientist and his sentient computer is as much about loneliness as it is about intelligence,” writes John Menick in the new issue of Frieze. He tracks the guy-and-his-robot storylines in science fiction. [Frieze]

Citi Bike and the Armory Show art fair have crafted an art exhibition a marketing campaign on wheels. The fair commissioned artist Xu Zhen to create designs, much like decals, to 10 Citi Bikes. Two will be on view at the Armory, while eight others will be available for riders at the Citi Bike station closest to the fair. Then there’s a contest where the first 20 people to ride those art bikes to the fair each day will get free entry—but only after posting the appropriate hashtag on social media. Has nobody done the math here? Eight bikes, twenty people … seriously. [The New York Times]

Thieves have discovered Henry Moore is a good source of bronze. Another Moore has gone missing, this time stolen from a park in Scotland. [ArtsBeat]

Banksy leaves some graffiti in Woodside only to have it destroyed. Anyone else starting to feel like this is an unauthorized Creative Time, “Key To The City” type project? Our morbid interest in Banksy is leading us all over the city. [Gothamist]

Twitter now allows users to receive DMs from people they don’t follow too. Great for the average user, not so great for celebrities. [Gizmodo]

Are artists to blame for gentrification? asks Ben Davis, in response to the Guardian’s article of a similar title. Davis comes to a conclusion which every artist in the Bushwick, Williamsburg, East Village, or Soho has long ago: “gentrification isn’t just about people’s individual lifestyle choices—of artists, or preppies—but a symptom of dysfunctional urban policy, everyone is going to continue to get herded in front of rising rents every few years.” [Slate]

If you missed Mike Kelley’s 2005 Gagosian show “Day is Done”, then you have another chance to see it at PS1. [Times Magazine]

The fourth wealthiest Russian oligarch bought a single truffle (the mushroom) from Nello restaurant on the Upper East Side for $95,000. What do you eat with that? [ANIMALNY]

What looks like a great model for community funding has been going on in Detroit for the last three years. SOUP, a public program in Detroit that serves $5 dollar dinners, asks four people to give presentations on how they would better the city. At the end of the night, attendees vote on which presentation should get a grant. A recap of one such evening. [Michigan Daily]

Michael Kimmelman observes that community centers served us well during Hurricane Sandy, and thinks we should use some of the federal emergency money to build libraries. We’re not sure they’re used quite as much as community centers, but we’re happy with any proposal that keeps New York’s libraries in the public eye. [The New York Times]

We’re thinking about making Gravity a required viewing for all AFC staff and recommend readers join us. This movie looks great. A.O. Scott has the review. [The New York Times]

“Abstract Expressionism is overrated,” begins Holland Cotter, in his review of Robert Motherwell’s early collage show at the Guggenheim. Um, no. Motherwell is overrated. Spend an hour in the Albright Knox, and you’ll remember why people care about Abstract Expressionism. Viewing the best of this movement is truly moving. Anyway, he explains that while much of Motherwell’s work was repetitive and predictable, these collages are not. -PJ [The New York Times]

And the reviews of the New Museum’s Chris Burden show begin. Roberta Smith loves it. [The New York Times]

The Alice Austen House opens a show of Melissa Cacciola’s tintype portraits this Sunday, titled “War and Peace.” Situated in a Victorian Gothic cottage on Staten Island called “Clear Comfort,” the museum was home to one of America’s earliest woman photographers. Deputy photo editor of TIME Magazine Paul Moakley is curator in residence, and the museum features sweeping views of lower Manhattan. Try and think of a better way to spend Sunday afternoon. [Alice Austen House]

Restoration Hardware, a shop that sells everything from salvaged-wood tables to funky drawer pulls is unveiling RH Contemporary Art, “a platform that includes an interactive Web site, which will blend e-commerce and editorial; a print journal; a series of short documentaries; a residency program; and, yes, a Manhattan gallery.” These are the guys that brought you The Rain Room, so set your expectations low. -PJ [T Magazine]

There’s something about outsider artists that eludes insiders, postulates Sarah Boxer as she nears the end of a trend piece on outsider art rise within the art world. I’d suggest it’s something a little more simple; some of us need a break from the unending stream of contemporary art shown at fairs, biennials, and triennials. –PJ [The Atlantic]

A massive Pre-Raphaelite mural was discovered at the William Morris house in London. The mural’s briefly mysterious subject matter was revealed by an explanation offered up on Twitter. [The Guardian]

A Prezi-style map documenting the real estate changes that occurred under Bloomberg hit the front page of the Times this weekend. [The New York Times]

There’s also a bunch of two minute videos featuring notable New Yorkers weighing in on Bloomberg’s legacy. [The New York Times]

This month, n+1 debuted a new, evil-themed edition. So far, I’ve heard rave reviews about Chris Kraus’ “Kelly Lake Store,” a failed Guggenheim application for revitalizing a corner store in Hibbing, Minnesota. My issue hasn’t arrived in the mail yet, but I found an earlier, shorter version of Kraus’ application over on The Brooklyn Rail. I haven’t found the “evil” part yet. [n+1, The Brooklyn Rail]

Gregory Kloehn, a Brooklyn resident, has converted a dumpster into what amounts to a 1970s camper to serve as his apartment. [F’d in Park Slope]

73-year-old Chinese immigrant Pei-Shen Qian has been caught at the heart of an $80 billion dollar forgery scandal. The Woodhaven, Queens resident has been accused of painting fake Modernist masters, which were then sold by Long Island dealer Glafira Rosales to the Upper East Side’s Knoedler Gallery. [The New York Times]

Ever wonder why lobster remains an expensive item at restaurants when its wholesale value has been plummeting? Your answer here. [The New Yorker]

Are you having trouble understanding artists through their art? Understand them through their STUFF instead. In this edition of STUFF we bring you the youngest artist we’ve featured thus far, Jonas Lund. (He’s under 30.) Unsurprisingly this New Media artist’s STUFF is heavy on technology.

Let’s face it, at this point, there’s no stopping PRISM. Sure, coalitions have formed to protest the NSA for greater transparency about its spying programs, but Goliath is rarely beaten with a petition. So, if Goliath can’t be beat, maybe he can be tricked. That’s where artists Anthony Antonellis and Carlos Sáez come in.